Have you been out with your camera today?

[IanDG]

Great action shots, Jaded. Love the bluebells, mike

[Kim]

I can't not see a levitating fielder...

[Exit Stage Left]

I always find bluebells a difficult subject. A large sensor camera often needs a tripod to get the required depth of field. I took this one with a Fuji M603 I got in 2003. I've tried to get the same effect with a handheld Sony NEX5, but it's a compromise between depth of field and camera shake.

[Charlotte]

I can't not see a levitating fielder...

Who's about to get one hell of a shock when the gravity kicks back in...

[Exit Stage Left]

I'm still reconnecting with my old Fuji M603, here are some mystery trees.

[Jaded]

Triffid

[LEE]

I find it very hard to capture Bluebells as nicely as this Mike.



I think the main problem is that most cameras tend to boost the exposure because of the, usually, dark Bluebell woods, and in so doing lose the atmosphere.

It may pay to set my camera to underexpose to get a true impression of them.

[David Martin]

As the incremental cost of taking another pic is minimal, shooting manual and bracketing will give you the exposure you want.

[Kathy]

I've been concentrating on teaching myself post-processing lately. I haven't yet worked out how to upload processed photos to Picasa/Flickr (I'm ill: standing up is currently a challenge!), but here's a sequence of bold hippopotami:

http://ablogofallthingskathy.blogspot.co.uk/2013/05/canoodling-hippos.html

[Exit Stage Left]

Woodland photography presents interesting problems because of the different way in which the human eye and cameras work. How we see colour depends on how much light our eyes receive. We have two different sets of receptors, one of which is more sensitive to colour differences.
There is also a huge difference in the perceived sharpness of what we see. Unless we use a long exposure, and there is no movement, then using a large sensor camera, we can't get the impression of everything being in focus that the brain gets from the eye scanning the scene. The best we can hope to do is to take the scene at a hyperfocal f stop, which will vary with sensor size, also determining the shutter speed.
The impression of colour that each individual will get will be personal to them, so the same print of bluebells won't always match what different people see. I'd aim to get the foreground flowers in focus, and the first 5 metres.
I'm not entirely happy with this one, but I find it easier to work with a small sensor camera in such a setting.
http://www.all-things-photography.com/hyperfocal-distance.html

[mike]

back to the woods for me today, for a slightly trespassy portrait shoot with a family.  They liked it and have booked me for cute baby's christening in a couple of months


5D3_1084 by simpleimages_mike, on Flickr

[David Martin]

Yes. I lugged the D80 all the way to the top of a munro, only to discover I had neglected to bring a memory card with me.

[David Martin]

And the reason for no memory card was that I had removed it to upload photos from yesterday.

The Snow Roads Audax. When I first photographed this I went for the Time Trial look. Long lens, nice background and used a remote flash in the less than clement weather and early sunshine.
This gets a bit samey, it is however very safe as you are almost guaranteed (as much as anything) to get the shot. Last year I had a new lens to play with and used the same this year. It was a Nikon 10-24 zoom, and as I could walk/run at the speed of the riders on Cairn O'Mount I could get in close, really close and capture the agony and ecstasy far more than with the long lens.

The main problems were the sun, at the time I was shooting, this meant going almost directly into the sun, and wanting a low angle meant I couldn't look through the viewfinder. Other settings: flash set to +1 exposure comp and 17mm. ISO 100 and apeture 6.3 which with that lens guarantees everthing in focus.

Here are some examples:

My club mate Kenny. He doesn't do hills but really beasted this one..

Untitled by davidmamartin, on Flickr

More elegantly, Dr Kate, a fantastically strong rider though she has only been doing longish distances for a year or so.

Untitled by davidmamartin, on Flickr

And a nice bit of lens flare. I am holding the camera less than a foot from his handlebars.

Untitled by davidmamartin, on Flickr

It is really risky if you *must* make the shot, but I really like the results, especially with the sun.

And I discovered that not changing the fifth battery along with the others in the SB800 can lead to it getting very, very hot (and frantically trying to change it whilst running backwards uphill alongside a rider..)

[andyoxon]

Weston-s-m


P1170196 by ao, on Flickr


P1170205 by ao, on Flickr


Baggy Point, nr Croyde


P1170258 by ao, on Flickr


P1170275 by ao, on Flickr

Taken with Lumix LX3

[Jaded]

Up a hill.

[clarion]

Took two trains to get to Blackfriars so I could have a wander through the fringes of the City, down ginnels and across the wobbly bridge to pass Tate Modern.  I misjudged it slightly, and arrived at work three minutes late.  But it was worth it.  I think I got one really good photo, and several of the sort which please me and leave others baffled.

Dull; drizzling; flat light; unpromising.  Using Canon G11.  I'll try to upload them later.

[Jaded]

Up anover hill

[clarion]

Ver ver nice.

[Exit Stage Left]

I've never been to the top of Canisp, something to do I suppose.

[Jaded]

Only  phone camera, I'm afraid.

[Afasoas]

Sun is shining but not much time on my hands.
And sadly, the garden was shaded by the time I got to it. These could have done with a little more DoF, but I quite like them none the less.



Bonus points to anyone who can tell me what they are called....




Garden Flower 1 by afasoas, on Flickr


Garden Flower 2 by afasoas, on Flickr


Garden Flower 3 by afasoas, on Flickr

[clarion]

Took two trains to get to Blackfriars so I could have a wander through the fringes of the City, down ginnels and across the wobbly bridge to pass Tate Modern.  I misjudged it slightly, and arrived at work three minutes late.  But it was worth it.  I think I got one really good photo, and several of the sort which please me and leave others baffled.

Dull; drizzling; flat light; unpromising.  Using Canon G11.  I'll try to upload them later.

Sorry.  It's been a busy few days.  Here are some shots.

[Exit Stage Left]

One of my odder worksites. I look after the trees in the tubes, weeding around then in this instance. The suitcase contains a pig carcase, to provide forensic data I assume. Other mesh cages cover alfresco dead pigs, or the sites of shallow graves. It's as if a macabre Damien Hirst installation has been produced for my sole benefit. The pigs hung by the neck from a scaffolding jibbet are particularly striking. I've titled the whole work, 'Man's Inhumanity'.

[Afasoas]

ESL,

What do you do?


Here's a set from today's wonder around Salford Quays. All captured with the D40 and a 35mm prime.


Salford Quays 1 - Green Salford Uni by afasoas, on Flickr


Salford Quays 2 - Zebra Crossing by afasoas, on Flickr


Salford Quays 3 - Beeb Perspective by afasoas, on Flickr


Salford Quays 4 - Auntie Beeb by afasoas, on Flickr


Salford Quays 5 - Lift Bridge by afasoas, on Flickr


Darlek by afasoas, on Flickr


Salford Quays 6 - The Lowry Theatre by afasoas, on Flickr

[Exit Stage Left]

ESL,

What do you do?

I'm a conservation contractor who plants trees and maintains them in this instance. Odd things happen in woods, the people involved in that project are replicating some of the forensic aspects.
But today I'm doing some firewood splitting, and sorting out my motorbike. I did pop out into the back garden to get a snap of the silaging beyond the fence. I could have taken the shot from the kitchen. It's amazing how leggy the Cow Parsley is this year.